Last summer I wrote a multi-part series here that looked at how much color gamut displays really need. In those articles I used the gamut of colors found in the natural world, as defined by Pointer, as a possible design goal for an ideal color display. Kid Jansen at TFT Central has followed-up on my piece with a much more detailed look at how several current color gamut standards and devices perform compared to Pointer’s gamut. He’s done some great analysis and it’s well worth reading, check it out here.
In the previous post in this series, I made the case for displays with hybrid, custom color gamuts as a great way to deliver coverage of Pointer’s gamut as well as the most important broadcast standards. We can build the hardware today to support these large color gamuts so its seems like a great solution but there is a catch: nobody is broadcasting or distributing these large color gamuts today. So, are we going to have to wait for broadcasters and content creators to slowly catchup, much like we did with HDTV?
What content delivery looks like today
Today, content creators are actually shooting in a wide variety of color spaces ranging from RAW to rec.709 to Adobe 1998. They are then forced to cram all of these different sources into the lowest common denominator rec.709 standard for broadcast or distribution. That same content is then displayed on devices with a range of different gamut capabilities from tablets that only cover about 70% of rec.709 to HDTVs that do meet the spec to OLED devices that oversaturate the content.
There’s a lot of diversity on both the capture and display sides and a clear bottleneck in the middle in the form of broadcast and distribution channels.
Adhering to broadcast standards is no longer sufficient to guarantee a good experience for consumers because there’s already too much diversity on the display side alone to rely on one standard. You just can’t be sure that consumers are actually looking at your content on a rec.709-capable device. We’re also losing a lot of the value that creators are capturing and could, in many cases, be delivered to end viewers who have the devices to show it.
How do we get around broadcast standards?
What content delivery looks like tomorrow
The first thing to note is that the internet is democratizing broadcast and distribution channels. With the web we can deliver whatever we want, whenever we want. Some players in the industry, notably Sony, are already doing this with 4K content. If there’s no content available and you believe in 4K resolution, you just deliver your own content directly to your customers.
Still, this leaves us with some potential experience problems. If the right display gamut is not matched to the right content the results will be no different and that’s why color management is key. There are several companies working on color management solutions and certification programs for devices that will make it possible for wide color gamut displays to handle a variety of incoming gamuts. Using metadata, for example, a wide color gamut display can be alerted to the presence of Adobe RGB content and then remap that content on the fly to assure that it is displayed accurately on that specific panel.
With great color management, we can maximize the gamut on the display side and pull through the best possible gamut for the device we are looking at. In this way, we can deliver always accurate content that meets the designers intent, wether artistic or commercial.
Last week I looked at the three “P’s” of human color perception– physical, physiological and psychological– as a way to help define a color gamut for the ideal display. Based on real world examples from art and commerce, I concluded that the range of colors found in nature, as measured by Pointer, provided the best fit with our two design goals which were an accurate and exciting, immersive experience.
This week, I’d like to get a little more practical and take a look at existing color gamut standards to see what we might realistically be able to achieve today.
What fits best?
The first thing you’ll notice about Pointer’s gamut (pictured above again) is that it’s a pretty odd, squiggly shape. This means it is going to be difficult to cover efficiently with a three primary system that mixes just red, green and blue to create all the colors we see, like the LCD found in the iPhone. In order to cover Pointer’s with just those three colors, we’d need to make them extremely saturated. There are proposed standards that take this approach, such as rec.2020, but since they are not practical to implement today from a technology standpoint I’ve decided to ignore them for this discussion.
For the near future, we’ll need to rely on just three colors to get the job done, so what can we do now? Let’s look at two popular wide color gamut standards: Adobe 1998 and DCI-P3:
Let’s start with Adobe 1998. Many people are familiar with this color gamut since it is found as an option on many consumer cameras and it is popular among creative professionals. It certainly covers a significantly wider range of colors than the HDTV broadcast standard with a very deep green point. The rich cyans that we talked about in the movie “The Ring” would look great in Adobe 1998. But, we’re not getting any more of those exciting reds and oranges. In fact, Adobe’s red point is identical to the HDTV broadcast standard.
What about DCI-P3 then? Designed to match the color gamut of color film and used in cinemas all over the world, DCI-P3 has a very wide gamut. The reds are particularly deep and, of course, all of the colors from the movies we looked at are covered. Still, it’s missing a lot of the deep greens found in Adobe 1998 and only just fits the green Pantone color of the year. So DCI-P3 is not quite perfect either.
What about a hybrid, custom gamut?
What if we combined the green from Adobe with the red from DCI-P3 and their shared blue point? We’d end up with pretty good, high 90’s percentage coverage of Pointer’s gamut, coverage of all of the existing HDTV broadcast content, full coverage of cinema content from Hollywood and a superior ecommerce experience with most of the colors from the natural world covered.
Looks pretty great and we can make displays now that cover this color gamut with today’s technology. But how would it work on the content side? Would we need to get together and agree on this new standard and then wait for years while it is slowly adopted by content creators and display makers?
Next week we’ll look at how content delivery might evolve to support gamuts like this without the need for major changes to broadcast standards.
Last week I set out to define the ultimate consumer display experience in terms of color performance. I laid out some potential color performance design goals for an ideal display, suggesting that such a display should be both accurate and capable of creating an exciting, immersive experience that jumps off the shelf at retail.
Can we achieve both goals? To find out, let’s start by looking at how we perceive color.
The color of objects that our eyes see in nature is determined by three things: physical, physiological and psychological:
The physical component of our color perception is a constant based on the laws of nature. It is a combination of the quality of the illumination or light source, in this case meaning spectrum it contains, and the reflectance of the object. In the image above, the ball appears red to the eye because it is reflecting red light, while absorbing most the other colors from the light source.
The physiological part of our vision is also a relative constant that is based on the electrochemical processes of the eye. The back of the retina contains photoreceptor nerve cells which transform incoming light into electrical impulses. These electrical impulses are sent to the optic nerve of the eye and onto the brain, which processes and creates the image we see. And that’s where the psychological component comes in.
Let’s look at how each of these components might affect display color performance, starting with the physical, which ought to be something we can measure.
Fortunately, a guy named Pointer has done this for us. For his 1980 publication, Pointer measured over 4,000 samples and was able to define a color gamut of real surface colors, of objects found in nature. The result is commonly called “Pointer’s Gamut:”
This already seems like a great place to start. It immediately looks like a great fit our first ultimate color experience criteria which was accuracy. If we could accurately capture and reproduce all of the colors found in the natural world it would make for a much improved, more accurate ecommerce experience, for example.
But how important are those extra colors? Looking at Pointer’s gamut mapped against the color gamut of the latest iPhone in the chart above, you have to wonder if we really come across these deep cyans and reds in everyday life. Are they just infrequent, rare colors or something worth pursuing for our display?
Turns out we do. As an example, Pantone’s color of the year for 2012 was a deep emerald green that falls outside of both the iPhone’s gamut and the HDTV broadcast standard. This is an important and popular color that appears a bit too yellowish on your computer monitor when you are shopping for the perfect tie on Amazon. So there are some really important colors outside of what the iPhone can display today.
But, what about our second criteria, the lifelike, exciting, immersive experience we want to give consumers? Is the gamut of the natural world enough?
If we look at the second component of the visual system, the physiological component, we’ll see that we can actually perceive a much wider range of colors. The cells in the back of retina can actually detect the entire range of the CIE diagram. That’s almost double the range of colors that Pointer found in nature:
This is starting to sound like a much more immersive experience. Maybe we ought to pursue the full color capability of the human eye just like the industry has done for high, “retina” resolutions.
It sounds great but it would be a tall order. It would take quite a lot of power, brightness and extra bit depth to even begin to think about covering a color space this large. There certainly would be a high price to pay in terms of design tradeoffs to get there. So are there any truly valuable colors contained in that extra space, similar to the Pantone color in Pointer’s gamut, that would make us want to go for it?
This is where the psychological component comes into play.
Seeing is not passive. Our brains add meaning to the light that our eyes detect based on context and experience and memory. We are continuously and actively re-visualizing the light that comes out of our retinas.
This may seem hard to believe but this fun demo created by neuroscientist Beau Lotto does a great job of showing just how much our brains actively interpret and change what we see.
The color of the chips has not changed in the video above, just our perception of the color. What’s happening here is our experience is telling us that the color chip in shadow must actually be a much brighter color than the chip under direct illumination, so our brain is just making the correction for us on the fly.
Artists absolutely play on this psychological element of our perception of color, sometimes using totally unrealistic or hyper real colors to make us feel or experience something new or help tell a story. In fact, one of the most influential art instructors of the 20th century, Josef Albers, once said that, “the purpose of art is not to represent nature but instead to re-present it.”
So, whether it’s Monet using saturated and contrasting colors with equal luminance to trick our brains into seeing poppy flowers sway in an imaginary breeze in a 19th century painting or modern films which sometimes rely on the wider gamut capabilities of color film and digital cinema projection to create uniquely cinematic experiences for audiences.
Movies like “The Ring,” for example, which used a deep cyan cast throughout much of the film to create tension and help tell a scary story. Or Michael Bay’s “Transformers” movies, which use deeply saturated oranges, reds and teal greens to create an exciting, eye-popping palette appropriate for a summer blockbuster sci-fi movie about giant robots:
There’s certainly a place for wild, unexpected colors in art. But, as we go through some of these examples, I think we’ll actually find that there is a huge range of expression possible within the gamut of surface colors that Pointer measured. The full range of gamut detectable by the human eye, while exciting to think about, is not really necessary to deliver both accurate and pleasing (engaging) color to our visual system.
So where does that leave us?
In my next post I’ll look at existing wide color gamut standards and content delivery mechanisms to see both what we can do today and what’s next for wide color gamut displays.
Just back from a great DisplayWeek in Vancouver. Finally had a chance to recover, go through my notes and process everything I saw at the show. Most of the big story lines will be pretty familiar to anyone who followed last years show: TV’s are still getting bigger, OLED TV is still right around the corner, 4K is starting to ship and mobile displays are getting both sharper and more efficient.
DisplayWeek wasn’t all old news though. In fact, just like CES, this year everyone seemed to be talking about color performance. At the annual Display Industry Awards, honors in several categories went to wide gamut display technologies including the Best In Show and Component of the Year awards. And, on the show floor, major manufacturers like 3M, Samsung and LG dedicated significant booth space to wide color gamut or color management technologies.
3M demoed several wide color gamut LCDs based on the Quantum Dot Enhancement Film (QDEF) technology that they are partnering with Nanosys to manufacture. Ranging from smartphone all the way up to 55″ TVs in size, these devices were all showing a wider color gamut than OLED with an especially deep red. This seems like a lot of color but 3M says that in developing their Perceptual Quality Metric (PQM), a new analysis tool aimed at helping display makers model how different performance characteristics will affect end user experience, they found that color saturation positively affected the perception of quality.
In Samsung’s neighboring booth, I found a series of comparison demos designed to show that wide color gamut displays can be both accurate and pleasing to the eye. Each demo featured a camera feeding a live image of several colored objects to both standard and wide color gamut displays. In each case the wide gamut display was able to more accurately recreate the color of the objects in front of the camera. They also showed off the new color management capability of their flagship Galaxy S4 smartphone that allows the device to accurately display rec.709 content without oversaturation- something the previous generation S3 struggled with.
Finally, at LG’s booth, we saw a new LCD color filter design that allows them to cover the Adobe RGB color gamut used by photographers and print professionals.
With all of this buzz, it looks like we’ll start to see wide color gamut displays start to move into the mainstream in ever larger screen sizes over the next half of this year and into 2014.
Apple CEO Tim Cook spoke at Goldman Sachs’ Technology and Internet Conference yesterday. He touched on a wide range of topics from what Apple plans to do with its cash horde to the state of its retail operation. When it came to a question about making lower cost products, Tim used display quality to help make a point about creating great user experiences:
The truth is, customers want a great experience and they want quality and they want that a-ha moment each time that they use the product, and that’s rarely a function of any of those things.
If you look at displays, some people are focused on size. There’s a few other things about the display that are important. Some people use displays, like OLED displays, the color saturation is awful. And so if you ever buy anything online and you want to really know what the color is as many people do, you should really think twice before you depend on the color of the OLED display. The Retina display is twice as bright as an OLED display. I only bring these points up to say there are many attributes to the display, and what Apple does is sweat every detail.
He makes some fair points here. If a display is not bright enough to view in all conditions, not efficient enough to get you through a whole day or accurate enough to display your favorite content, the experience of the whole device suffers. Choosing the right display technology is certainly a critical part of the design process.
OLED technology’s power consumption and saturation issues have been well established already. What I find most interesting in Tim’s comments is the idea that high color saturation is intrinsically a bad experience. It certainly has been that way so far but the difference between a great color experience and the gaudy oversaturation of today’s OLEDs is in exactly the kind of implementation details he’s describing above.
OLED and emerging LCD technologies, like quantum dot displays, can actually show a much wider range of colors than today’s devices– over 40% more of the color that our eyes can detect. This means that, when paired with the right content, high saturation displays can more accurately reflect the world we see around us resulting in a more lifelike, immersive experience.
But how do we get wide color gamut content into consumers hands?
It’s a lot like the chicken and egg/content and technology dilemma facing 4K TV makers with two key differences- wide color gamut can be delivered with no change in file size and there’s plenty content out there already. As an example, movies have been shot for decades on media, both film and digital, that has a much wider color gamut than your TV does today. Much in the same way that 4K TV’s can upscale HD video, it’s also relatively easy to manage the color on a device to make it backwards compatible with today’s content.
OLED implementers have thus far been content to take advantage of the extra pop that added color saturation provides when comparing devices on a store shelf. They’ve left a tremendous amount of overall ecosystem value on the table. It’s possible to deliver video in cinema-level color quality to mobile devices, to offer developers the tools to take full advantage of a wider color palette and to implement accurate color management for existing content. Wide color gamut is ready now, it’s just waiting for the right device maker to come along and put all these pieces together to perfect the experience.
The ITU announced today that it’s members have agreed upon a new high efficiency video codec. Dubbed HEVC H.265, the new format is designed to improve on and ultimately replace the current king of all codecs, H.264/MPEG-4 AVC which covers 80% of internet video today.
So far, a lot of attention has been given to the codec’s ability to deliver the same quality video as 264 with only half the bandwidth. That kind of efficiency improvement is a big deal– it could reduce strain on networks and bring high-resolution 4K content delivery over the internet closer to reality.
There are also some important changes for color in the new spec. Recent drafts by the ITU’s Joint Collaborative Team on Video Coding (JCT-VC) have added support for wider color gamuts like Adobe RGB 1998 and 12-bit video. This paves the way for fantastic looking color as wide gamut-capable hardware starts to become more widely available.
I’m just wrapping up my visit to CES and it’s been interesting year for display technologies. Amid all the noise about 4K, OLED and 4K-OLED, color performance seems to have quietly worked its way into the conversation. I can’t recall ever having so many relatively technical conversations about color with booth reps from major consumer electronics manufacturers at a CES. It nearly started feeling like a visit to DisplayWeek, that is until I ran into some of the weird, only-at-CES iPhone cases…
I bet we’ll see more color talk next year, especially as 4K content delivery mechanisms and standards begin to mature. In the meantime, these are some of the color-related display stories that caught my eye this week:
Wide gamut content delivery
Sony’s 4K content delivery plans have been one of the most talked about topics here at CES. Less mentioned was Sony’s inclusion of wider color gamut in their standard. Sony reps that I talked to said that both the 1080P Blu-ray disc-based “mastered in 4K” and pure 4K delivery methods would include a wider color gamut. They were not ready to release specifics on gamut size or whether it would meet existing standards like DCI-P3. Still, bringing “expanded color showcasing more of the wide range of rich color contained in the original source” is a move in the right direction for wide gamut.
Technicolor showed off a color certification program that they hope will incentivize display makers to improve the color accuracy of their panels. Displays that meet or exceed Technicolor’s color specs will get a badge and a copy of partner Portrait Display’s Chroma Tune software, which dynamically controls color gamut to match the application you are using. This means if you open Photoshop on a device with an Adobe RGB 1998 capable display, you’ll get the full, wide gamut. But, if you switch over to watch a YouTube video in your browser, the software will limit the display to rec.709 for the most accurate experience. The advantage was well demonstrated by their e-commerce demo, where a pair of shoes were more accurately depicted on a certified display:
Like Sony’s upscaling effort, this kind of technology could help drive wide color gamut adoption by making today’s content compatible with newer displays.
Several companies at the show introduced devices in a new class- the 20-plus inch tablet. While there were a lot of hokey multi touch gaming demos (are you really going to play poker with 4 smartphones and a 27″ screen instead of a deck of cards?), the content creation stuff Panasonic showed actually made me think the new form factor shows real promise as a professional tool.
Their tablet, which measures 20 inches on the diagonal, features a 4K IPS panel that covers 100% of the sRGB color gamut standard. Having such a a large canvas with high resolution, accurate color and multi-touch could be great for creative pros like photographers and architects.
Pantone recently announced their color of the year for 2013, a deep shade of emerald green that they call “Emerald 17-5641.” It’s a great color but there’s a catch- most displays cannot accurately show it.
Based on data from Pantone’s website, I was able to plot the color in CIE 1931 (xy). As you can see in the chart below, Pantone’s color is well outside the sRGB/rec.709 color gamut standard used by most HDTVs, the new iPad/iPhone and many desktop monitors. These devices will be stuck showing a version of Pantone’s emerald green that’s less saturated and probably a bit more yellow than the real thing.
This is a perfect example of a popular real-world color that falls outside of the sRGB/rec.709 gamut. Unless you have a monitor that’s able to show wider color gamuts, like the DCI-P3 or Adobe RGB standards, you are missing out on a great color.
Content is king. One of the biggest challenges for emerging display technology is content availability. Whether it’s 3D, 4K or wide color gamut, these new features simply aren’t worth much without access lots of great, optimized content.
As new 4K TV’s begin hitting store shelves this year, they are entering a content vacuum.
Standards bodies like the Consumer Electronics Association (CEA) and International Telecommunication Union (ITU) are still working out the precise definition of marketing terms like Ultra High Definition TV (UHDTV). Proposed standards could include support for eight million pixel resolution, extremely wide color gamut and 3D content. But, today, there is almost no content out there that takes full advantage of all of the exciting capabilities of the new sets.
And, unlike the transition to HDTV, there’s no government-mandated switch on the horizon to force broadcasters to get on board.
At least one set-maker is taking it upon themselves to solve this problem by delivering both the 4K content and hardware. Sony announced last week that it will loan a 4K Ultra HD video player loaded with UHD content to buyers of their new 84” UHD television. The selection of 4K content on this player is fairly limited for now, but as more titles are released, this approach could help drive adoption of high resolution and wide color gamut formats. I wouldn’t be surprised if other set makers started following suit, though Sony does have an inherent advantage, owning a movie studio.